The Brit Awards 2015

The Brits 2015 were an interesting affair. The Brits has always had a particular aura about it which makes nobody take it particularly seriously in contrast to the US equivalent The Grammy Awards. The Grammy’s involves artists and celebrities dressing up for the occasion and sitting attentively waiting with bated breath to see who has won each prestigious award. Talented musicians you would never have paired perform together and it’s a celebratory, sophisticated evening. The Brits on the other hand tends to be rather more… British. It’s a drunken catastrophe which never appears to be able to run smoothly without controversy. They couldn’t be anymore different, aside from the fact they are both music award shows. That said, I love both because they are on opposite ends of the spectrum and are both always an entertaining watch.

Ant and Dec replaced previous host James Corden as presenters of this year’s ceremony. Whereas James had a natural wit and enthusiasm for music, for Ant and Dec, it didn’t come as naturally. It was a little bit forced and ended up as bit of a Circus act for me. Whilst they had grown on me by the end, I did miss Mr Corden very much.

As far as performers go, I can’t fault it. It was an incredible line-up with some of the best artists around. That said, the quality of some of the performances leaved a lot to be desired.

Taylor Swift gave a rather seductive but a little flat, vocally, performance of massive hit ‘Blank Space’. She appeared to pick and choose which parts of the song she sung, miming badly from time to time and then singing other parts. It was an enjoyable performance but perhaps not the explosive opening performance to the Brits everyone was hoping for. She would have been better performing a little later in the show.

Four-time Grammy Award Winner Sam Smith gave a classy performance of latest single ‘Lay Me Down’, accompanied by a gorgeous string piece section. It was a lovely performance and his vocals shone as always. Royal Blood took to the stage to perform an explosive rendition of ‘Figure It Out’ – not really my thing but the other performers made up for it.

edThen, the performance of the night for me was Mr Ed Sheeran. Ed did his one-man-band routine using his guitar and loop pedal. He performed latest single, the haunting ‘Bloodtstream’ in front of a visual background of a type of time lapse. It was clever, it was raw, it was gripping. By the time Sheeran growled ‘Tell me when it kicks in’ in the final couple of minutes of the performance, everyone was won over.

Then we were subjected to Mr Arrogant himself, Kanye West who leapt around the stage with more bounce than a child on a space hopper. West was introduced by wife Kim Kardashian which simply added insult to injury and took to the stage to perform new single ‘All Day’. Unfortunately, it appears that he didn’t get the memo about use of language on the Brits as every other word screamed into the microphone was ‘n*****’. The poor sound engineer had his work cut out as he was forced to hit ‘mute’ every two seconds and viewers back home were met with 30 seconds of the song once all the expletives and offensive language had been muted. The sound engineer did a fine job although a couple of bits of offensive language did manage to fall through the net. The facial expressions of the celebrities in attendance perhaps said it all. Taylor Swift looked rather stunned by the performance, as were many of us back home. It was just so full on, so unnecessarily aggressive and it was just rather odd. One was rather grateful when Mr West and his entourage left the stage and the rather less threatening Ant & Dec returned.

take thatTake That were rather bizarrely booked to perform despite not being nominated for an award which failed to make any sense to most people. Why book a massive band and therefore recognise their continued relevance yet not nominate them for an award? Still, the band performed an explosive version of new single ‘Let In The Sun’. It’s a powerful track with house/dance beats, fierce guitar strums and empowering lyrics. The three-piece were dressed fantastically for the occasion and each performed on their instruments – Barlow on keyboard, Donald on drums and Owen on guitar. Whilst Barlow was always known for performing on his keyboard, the other two members performing instruments has been more of a Take That Mark II thing and it’s great to see. The lights, confetti, backing dancers, silky smooth harmonies all combined to make an electrifying performance. Mr Barlow did get his lyrics slightly muddled ‘Want you to see the next step a day at a time’ but it’s easily done and it’s unlikely anybody noticed. Particularly when keyboard warriors were quick to vilify the performance. It’s unfortunate they appear to not have such a place in the public’s hearts anymore since the tax scandal and Jason Orange’s departure. I personally really enjoyed the performance.

George Ezra took to the stage to perform massive hit ‘Budapest’ and did a wonderful job. He has such a rich tone to his voice that makes him sound wise beyond his years. It’s still a great song even now after it’s over exposure on radio. Paloma Faith performed the fantastic ‘Only Love Can Hurt Like This’ before Madonna appeared…
I’m sure there’s not one person who is unaware of why Madonna was (and continues to be four days later) the talk of the Brit Awards. All evening, we were reminded by Ant & Dec that we had Madge’s performance to look forward to and that it had been twenty years since her last visit to the awards ceremony. Fair enough, I guess. Twenty years is a long time and there’s no denying Madonna is a global superstar. The unfortunate thing is she became the talk of the ceremony for all the wrong reasons. Because less than a minute into the song, Madonna took a tumble down a set of stairs onto _81279916_ef45fb6a-58e0-4296-bf5d-ef72ca358f3bher back. Apparently her cape was tied too tight and she could not undo it in time for one of her dancers to whip it off her, causing her to fall backwards. Social media responded in an amusing manner. For me personally, I was more concerned than amused. I must admit, I do often find humour in other people tripping or falling over but with Madonna, it just looked so painful. It wasn’t just a trip or stumble. She fell flat onto her back with quite an impact. Viewers at home were met with a thud and an audible ‘Oohh’ from those in attendance at the ceremony. After several seconds, Madonna carried on and managed to finish her performance, reinforcing the pro she is. I didn’t particularly enjoy the song or the performance and I do think the quality of Madonna’s music has deteriorated over the years but I still think she was wonderful to be able to finish the performance. She looked visually shaken and was a little flat vocally from that point onwards but who can blame her?! I did enjoy the response on social media, however. Lots of rather hilarious vines and memes surfaced soon after the incident. Perhaps it was a sign to Madonna that she should quit pretending she is in her twenties and to act and dress her age. 

Sam_Smith_second_awardAs for the awards themselves, I mostly agreed. British Male contained lots of very talented musicians and was therefore tricky to call. Very glad Ed Sheeran won, however. He has had a massive year with an amazing act. He deserves every single bit of his success. Like-wise, I’m glad he won Album of the Year. Paloma Faith was right to win British Female as her talent continues to amaze me. Her excessively long speech didn’t, however but I can forgive her because as she said, who knows if she’ll ever be in that position again? I thought British Group should have gone to Coldplay or One Direction but the fellows from Royal Blood seemed like humble, appreciative guys so I can live with that. International group was an odd category but was right to go to the Foo Fighters. It was odd Sam Smith won British Breakthrough considering it feels he has been around forever but still rightly deserved. It’s a shame George Ezra didn’t win anything considering his talent but he was very humble about it and still has a long career in front of him to win many awards. He seemed grateful even just for the nomination.

I disagreed with British Single. ‘Uptown Funk’ is a catchy number and has been a massive song. But there’s been plenty of other better singles in the past year more worthy. Ed Sheeran’s ‘Thinking Out Loud’ was a sweet affair with beautiful lyrics whilst Ella Henderson’s ‘Ghost’ was a massive hit. Sam Smith’s ‘Stay with Me’ would also have been more worthy. Pharrell Williams won International Male and rightly so. What a couple of years he’s had! Taylor Swift won International Female which again, I agreed with. ‘1989’ is an awesome album. Brit’s Global Success was won by Sam Smith which was well deserved whilst Best Video was won by One Direction for ‘You and I’. Ed’s video for ‘Thinking out Loud’ would also have been worthy of a win but I do agree with One Direction’s win. I know many criticised the video for not being anything out of the ordinary but sometimes simplicity is best. I loved the special effects by direction Ben Winston and it’s a lovely video well matched to a beautiful song.

It was an enjoyable watch this year, made all the more entertaining with it’s controversial moments. Let’s face it, The Brits wouldn’t be The Brits without controversy! I am looking forward to next year’s ceremony.

Music Monday – Volume Forty Four

1) S Club – Gangsta Love

Massive guilty pleasure. Catchy, a little bit infused with garage music. Awesome song.

2) Melanie C – May Your Heart

This woman is SO underrated. One of my favourite songs of all time. Absolutely beautiful song.

3) Tom Baxter – Better

Beautiful folk song by Tom Baxter. Boyzone later covered it.

4) Whitney Houston – Step by Step

Beautiful, inspiring and catchy song written by Annie Lennox. Annie recorded it in the early 90’s but wasn’t keen so she gave it to Whitney who rearranged it and turned it into the dance classic it is. Can’t get enough of this at the moment.

5) The Pretenders – Don’t get me wrong

A fantastic song and one I was reminded of when watching Bridget Jones’s Diary the other day.

6) Herbie Hancock, John Legend & Pink – Don’t give up

The original by Peter Gabriel and Kate Bush is beautiful of course. I just love this take on it. All talented artists and a beautiful fresh take on a very heartfelt, inspiring song.

7) Sting – My Funny Friend and Me

Gorgeous song that Sting wrote and recorded for the 1999 disney animation ‘The Emperor’s New Groove’. Love how it builds up and the gospel choir at the end.

8) Roxette – Making Love To You

Beautiful, chilled out-take from my favourite Roxette album, 1999’s ‘Have a Nice Day’. Wish this had been on the album.

9) John Mayer – I Will be Found (Lost at Sea)

Beautiful song by Mr Mayer. It’s refreshing to have a piano-based song by him.

10) John Mayer – In Repair

Uplifting and inspiring song by John.

The Brit Awards 2015

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The Brit Awards are always one of the musical highlights of the year. With the 2015 ceremony just around the corner, we have compiled a playlist of songs associated with this year’s event. Some songs featured are nominated, others are by nominated artists and some are by this year’s performers.

Stay tuned for our post-show blog.

Markus Feehily premieres new single

Markus Feehily has premièred his début solo single ‘Love is a Drug’.

It’s been three years since Westlife split. Markus has kept a relatively low profile until now whilst ex-band members Shane Filan and Kian Egan have had a reasonable amount of success with their solo albums. Westlife were always an acquired taste. I enjoyed some of their music but wasn’t really into them if I’m completely honest. That said, I am always interested with any music developments and am looking forward to seeing what Markus has to offer in his solo career.

‘Love is a drug’ is co-written with songwriter/producer Mojam who has previously worked with Sam Smith and Emeli Sande. It’s a massive track with sweeping strings, 90’s house/trip-hop beats in the same vein as Massive Attack’s ‘Unfinished Sympathy’ and Emeli Sande’s ‘Heaven’. Markus really showcases his impressive vocals and I am really, really enjoying this track.

Check it out below!

Why Jason Orange is greatly missed.

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I meant to write this blog long ago but as usual, life got in the way and it never happened. Better late than never, here’s my blog on Jason Orange leaving Take That.

24 September 2014:

It was to become another day of immense sadness for Thatters worldwide, an addition to the previous dark days on which Robbie Williams announced his departure in 1995 and Take That announced their disbandment in 1996. Jason Orange dropped the unforeseen bombshell that he was leaving Take That.

01xt8-vi2The response was quite astonishing considering we are now twenty-five years into Take That’s career and there are arguably fresher-faced more ‘current’ bands around. Take That’s relevance was reinforced once again. It became front page news, splashed all over tabloid newspapers and was a hot topic on the internet for days. Deluded Twitter trolls, convinced they are comedians were quick to provide much ‘banter’ and opinion over the situation, “Take That will never sound the same again” is just one noteworthy example. Other posts were critical of Orange’s role in the band whilst some suggested the band give up altogether. Of course, as the last few months have proved, the continuation of Take That as a three-piece has been wonderfully successful with many records broken and a killer album released. Yet, even throughout their many wonderful performances, Orange’s absence has been more noticeable than anyone could ever think possible.

Upon Take That’s formation, Jason Orange was selected by manager Nigel Martin Smith for his dance ability and he was bloody brilliant at it. Even the harshest critic would not be able to undermine Jason Orange’s dance ability. He was able to choreograph fantastic routines, glide across the floor effortlessly and he continued this well into Take That’s second life as a band. Even as a 41 year old, he youthfully breakdanced on 2011’s ‘Progress Live’ tour, which was to become his final tour with the band.

093-viPart of Take That’s appeal back in the ’90’s was the range of talent and personalities in the band. Jason and Howard were incredible dancers, Mark was the boy next door, Robbie was the cheeky lad and Gary had the genuine vocal talent. Of course, all talents crossed over – Take That’s success was built upon every member’s ability to be an individual, to sing and to dance. It was five guys from Manchester, all of which had wonderful individual talents which, when put together, made Britain’s best loved boyband. When Take That re-formed as a four piece in 2005, the focus became more on the music and the public was shown that Take That were able to function well as not just a generic boyband but as a band. Harmonies became cleaner, instruments were bought out on stage more and Jason was finally given lead vocal duties, breaking him in gently with the stunning folk ballad ‘Wooden Boat’, the final track to 2006’s ‘Beautiful World’ album.

Jay wooden boat 2Jason Orange proved he could sing. ‘Wooden Boat’ was a sweet, gorgeous folk-ballad which closed the ‘Beautiful World’ perfectly. ‘How Did it Come to This’, his next lead vocal from 2008’s ‘The Circus’ was a rock foot-stamper, highlighting his ability to sing across multiple genres. His final lead vocal was to be the gorgeous ambient ‘Flowerbed’, an underrated hidden track on 2010’s ‘Progress’. In fact, it is Jason who sang lead vocals on some of Take That’s best-loved material. He was also bloody brave! On 2007’s ‘Beautiful World’ tour, his bandmates left him alone on-stage with an acoustic guitar to sing ‘Wooden Boat’, accompanied only fellow guitarist Milton McDonald and a small string section which was warmly received by fans and critics alike.

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It was Jay’s fantastic stage presence which became an integral part of Take That’s strong, visionary performances. This was often centred around his sense of humour – he would often move in comedic fashion, particularly when sprinting to the B-Stage in Take That shows. He also has a wonderful element of charm about him which came through not only in interviews but also during performances. He famously drew attention to himself during the 2012 Olympics Closing Ceremony which some suggested may have been to take attention away from Gary Barlow whose baby daughter had been delivered stillborn just days earlier. It’s this charm and cheek that’s now missed dearly in Take That. Performances are still fun but there is certainly something missing. And that something is definitely anything associated with Mr Jason Orange.

And it’s not just the singing and dancing. It’s also the personality. The humour, the charm, the wisdom. Jay clearly spent a lot of his ten years off thinking about everything and this really showed in any interviews he was a part of, particularly ‘For The Record’ and ‘Look Back Don’t Stare’ in which he thoughtfully discussed his time in Take That.

3125c03a769136e00ea9ea4a1425c667Whilst obviously very grateful for the privileges he had earned, Jason always appeared to be uncomfortable with fame and his celebrity image. Any downtime away from the band was spent in anonymity, only being photographed very occasionally in everyday places doing mundane activities (he was once photographed sitting casually on a bench) and most often unshaven with
scraggly hair. His avoidance of Twitter or any social networking sites only facilitated in making him a more endearing character. His perception of fame and modest attitude could only be admired. Upon being asked by Piers Morgan, ‘If you could go back to the anonymity you enjoyed before Take That ever began, would you take it?’ He responded unhesitatingly with ‘I would. Fame corrupts people’s lives.’  It was this lack of egocentrism and profound outlook that made Jason Orange so well loved as a band member. Despite being remarkably grounded for a man in his position, he had a jokey alter-ego as a full-of-himself cheeky-chappy, once announcing in an interview “Mate, I was famous before I was famous”. He could also be rather filthy. Who can forget his steamy shower scenes with a mystery female in the music video for ‘Relight My Fire’?! In another interview laden with innuendo, he advised “If you sit down on your left arm for long enough, it feels like someone else!” His fantastic sense of humour really bought Take That interviews alive.

Take That have done a sterling job at adapting to their many line-up changes and continuing their success as a band. Their determination and continued success is certainly to be admired and I am so very grateful they still exist as both a brand and a band. Performances are still spectacular and lively but it’s clear that a presence is missing. That presence is Jason Orange. It’s just a shame that seemingly, his only way of proving his worth to critics was through leaving.

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It’s the little things I miss. Him losing himself in every performance – the Donage bromance with Howard Donald, his comical running to the b-stage, the on-stage flirting with dancers, his wit and profound outlook in interviews, his sweet vocals and the breakdancing. Maybe one day he will return, even for the smallest of moments but until then, I hope he’s happy and comfortable with the life he’s living.

We all miss you very much, Jay!

Music Monday – Volume Forty Three

1) Robbie Williams – The Pilot

Catchy number from Rob’s latest album of unreleased material: ‘Under The Radar’. It’s a song more than worthy of being on a commercial album by Rob and possibly even single material. Catchy beat, fierce guitar strums and a great vocal performance from Robbie.

2) Robbie Williams – Love Is You

Beautiful ballad reminiscent of Rob’s work from 2005’s ‘Intensive Care’ album.

3) Robbie Williams – Baby Girl Window

Beautiful ballad that closes Rob’s ‘Life Thru a Lens’ album. I’d never really paid attention to it but after giving it a proper listen recently, I fell in love with it.

4) Take That – Get Ready For It

Powerful closing track to ‘III’ and a great, great song. The single release has added orchestration which makes it even more emotive.

5) Zak Abel – These Are The Days

Catchy, soulful number. Love this.

6) Prince – Welcome 2 The Dawn

Gorgeous acoustic based ballad from the late 90’s.

7) Ed Sheeran and John Mayer  – Thinking out loud

Absolutely love Ed and this song anyway but throw one of my favourite artists – John Mayer into the mix and you create utter perfection.

8) William Fitzsimmons – Just Not Each Other

Found this artist through a Spotify playlist and fell in love. This is my favourite by him – a beautiful low-key ballad which discusses lost love. Love the final part of it with the layered vocals. Beautiful.

9) William Fitzsimmons – I don’t feel it anymore

Stunning ballad and the song that got me into William Fitzsimmons.

10) William Fitzsimmons – Fade and then return

Great, rather catchy track by William.

Higher than Higher.

It’s been a while since I last blogged. I’ve found it difficult to find the energy or time to do so recently but believe me, I’ve missed it. I have a bit of spare time at my hands for the next week or so, so I’m hoping to publish some thoughts I’ve had for a while. I really hope you enjoy reading them and I hope to update this more in the future. This blog is about a song that means a lot to me.

Take-That-III-Three-3-album-coverListening to your favourite band’s brand new album in four years was always going to be a special experience. Beingwhisked off on a journey through a brand new set of songs, learning new lyrics and falling deeper in love with them is an indescribable feeling. When Take That released ‘III’, I was impossibly excited alongside many other Thatters. I was familiar with some of the songs already due to hearing them on the radio but others were completely brand new. Even the ones I’d previously heard sounded different, better when hearing them in the context of the album. There’s nothing quite like listening to an album from start to finish, especially for the first time.

‘III’ is one of those albums where every song is euphoric and fantastically written. I was really, really loving my first listen. The first five songs had really taken me up to the clouds and the last one, ‘Portrait’ was already cemented in my collection of favourites. Then on came Track 6, ‘Higher than Higher’ and that changed everything.

1de3f04c0f0ab2dfaa5ecdb04f757258 (1)A lot of what makes the track so perfectly created, for me, is the insane production by little-known American duo Mattman and Robin. It begins all sophisticated and cool; the jittery production in the opening to the song sounds like nothing Take That has ever released before. Gary Barlow’s low vocals then emerge and melt effortlessly into a marching beat and minimal instrumentation. Barlow’s famous tenor range glides through the bridge which launches into a lovely sing-song chorus. A repeated ‘You’re lifting me up’ is scattered throughout the song which echoes endlessly into the commodious production of the track and only serves to make it even more endearing. The acoustic guitar strums are meticulously placed over kicking, programmed drums and the classic Take That harmonies are thrown into the mix to produce a gorgeous and catchy chorus, a quest for happiness. The middle eight allows the song to simmer gently for a few seconds as Barlow’s chocolate vocals re-emerge whilst Mark Owen’s beautiful, resounding ‘Higher than Higher’ refrain slowly crescendos into the climax of the song. The final minute is layered perfectly; Gary Barlow’s lead vocal drizzled over the methodically programmed backing track, Howard Donald’s glimmering backing vocals and Owen’s emulation of an African choir chant of ‘Higher than Higher’. It’s just an absolutely stunning song; one which makes it a welcome addition to Take That’s ballad collection but is given a refreshing twist by Mattman and Robin’s fidgety programming to venture into a brand new sound for the band.

Recently I haven’t been feeling my best and ‘Higher than Higher’ has empowered me to be strong and has been my support mechanism. I listen to it every single day and I’m still not tiring of it. I interpret the term ‘Higher than Higher’ to be about being infinite and limitless in your capabilities whilst the song itself is for anyone or anything that gives you the strength, courage and love to carry on even when things have been dark and difficult. For me, I know who I think of every time I fill my head and heart with this song and I thank those people from the bottom of my heart.

Thank you Take That for writing such an important, beautiful and empowering song.

Music Monday – Volume Forty Two

1) Lisa Loeb – Stay (I missed you)

Gorgeous acoustic-based ballad which was included in the 1994 movie ‘Reality Bites’. Love this song so much.

2) Lisa Loeb – When All The Stars Were Falling

Another beautiful song by Lisa. Really love her music – very emotive and very chilled out.

3) The Blue Nile – Downtown Lights

Melancholic driving rock ballad from the 80’s, later covered by Annie Lennox. Love this so much.

4) Feist – Brandy Alexander

Jazzy, chilled out, this is just perfect.

5) Jessie Ware – You & I (Forever)

This lady is incredibly talented. Catchy, dreamy track.

6) Philip George – Wish You Were Mine

Irresistibly catchy house track that I’m really loving right now.

7) Ellie Goulding – Love Me Like You Do

Gorgeous, eery ballad taken from the forthcoming Fifty Shades of Grey movie. It’s very catchy and Ellie sounds amazing on it.

8) Coldplay – True Love

Beautiful song from Coldplay with percussion provided by Timbaland.

9) Coldplay – Swallowed In The Sea

Beautiful ballad from the X&Y album.

10) Take That – Higher than Higher

Still cannot get enough of this song. So uplifting, so hopeful and so beautiful.